GOLD: 50 Years of Absolutely Free

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The Mothers Of Invention – Absolutely Free

Released May 26th, 1967 on Verve Records

Of the first three Mothers Of Invention albums, Absolutely Free tends to be the forgotten middle child, stuck between the white-hot innovations of Freak Out! and the balls-out satire of We’re Only In It For The Money.  It’s a little more free-wheeling than either (if you want to split hairs) and lacks the conceptual focus that either of it’s flanking albums have.  What Absolutely Free does have, however, is internal cohesion.  It’s an album made up of two mini-suites, with call-backs to themes throughout.  Musically it’s an early Frank Zappa album, meaning that it’s continuously balancing on the edge of free-form jazz, skipping from idea to idea with the impetuousness of the creatively uninhibited.  There are references to Stravinsky and Holst; there are callbacks to previous soundtrack work Zappa had done; there is an admonishment to eat one’s vegetables because they’re good for you.  “America Drinks” and “America Drinks and Goes Home”, the bookend tracks of side two, are tongue-in-cheek references to Zappa’s days playing lounge music; “Brown Shoes Don’t Make It” paid homage to President Johnson’s fashion faux pas of the day, matching brown shoes to a grey suit.  The most impressive part of the album is the opening, where Zappa goes fifty years forward in time to find a President Of The United States who can only communicate by bleating the main riff to “Louie Louie” in a cracked, off-key voice.  NATO heads of state can probably relate.

Goodnight Ornette Coleman

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The music world has lost a true game-changer today.  Ornette Coleman has died of cardiac arrest at the age of 85.

Coleman was amongst a handful of similar innovators in the late 1950s and early 1960s – a group that includes Mingus, Coltrane, Parker, and Davis – that changed the rules of jazz.  The sharp divide between people who hear the word jazz and think of vocal American Songbook exercises a la Norah Jones and people who hear it and think of angular note-heavy freakouts is due in large part to the early work of Coleman, especially his 1959 masterpiece The Shape Of Jazz To Come.